BY KATHLEEN M. MORRIS
The looking glass arrived at the Clark as “Probably Salem, MA, c. 1820,” but a hidden label identified the maker of the looking glass as Georg Steinhäuser, who operated in Bremen, Germany.
BY ELIZABETH MCGOEY & ELIZABETH SIEGEL
This fall, the Art Institute of Chicago will open an exhibition, Photography & Folk Art: Looking for America in the 1930s, that explores the connections between the fields of folk art and documentary photography in the Depression era for the first time.
THE EXHIBITION MADE IN NEW YORK CITY: THE BUSINESS OF FOLK ART is on view at the American Folk Art Museum (AFAM) through July 28, 2019. The exhibit includes 100 hundred works by self-taught artists from the 18th, 19th, and early 20th centuries and highlights the history of New York City as a financial and commercial capital.
by ELIZABETH WOOD
The first thing visitors see as they enter the exhibition “Becoming America: Highlights from the Jonathan and Karin Fielding Collection” is a dramatic presentation of utilitarian tools spanning the years 1770–1870 .
by RACHEL LOVETT
The Hammond-Harwood House was pleased to welcome members of the Decorative Arts Trust for tours and workshops during the Spring 2019 Symposium. Participants were able to tour the special exhibition A Perfect Profile, which considers early likenesses, such as silhouettes, miniatures, and landscapes, as a precursor to modern-day social media.
Wolfsonian founder Mitchell “Micky” Wolfson, Jr. Has long been interested in a simple question: what can art and objects tell us about modern life? With a collection that begins in 1850 during the Industrial Revolution and ends in 1950 following the conclusion of World War II, modernity at the Wolfsonian is in many ways defined by a relationship with industry and production.
A special initiative of the Terra Foundation and Art Bridges, Inc., Terra-Art Bridges is a six-year program that connects a wide range of art institutions across the United States.
Over 250 objects were assembled at the Los Angeles County Museum of Art (LACMA) from September 2017 through April 2018 to unravel the intricacies of the longstanding and complex relationship between Mexican and Californian design.
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